The respective publicity agents of the two opera houses had been so
energetic in their efforts on behalf of their managements, that, to the
Senniers, the Heaths, and all those specially interested in the rival
enterprises, it began to seem as if the whole world hung upon the two
operas, as if nothing mattered but their success or failure. Charmian
received all the "cuttings" which dealt with the works and their
composers, with herself and Madame Sennier, from a newspaper clipping
bureau. And during these days of furious preparation she read no other
literature. Whenever she was in the hotel, and not with people, she was
poring over these articles, or tabulating and arranging them in books.
The Heaths, Claude Heath, Charmian Heath, Claude Heath's opera, Armand
Gillier and Claude Heath, Madame Sennier's quarrel with Claude Heath,
Mrs. Heath's brilliant efforts for her talented husband, Joseph
Crayford's opinion of Mrs. Charmian Heath, how a clever woman can help
her husband--was there really anything of importance in this world
except Charmian and Claude Heath's energy, enterprise, and ultimate
success?
From the hotel she went to the Opera House. And there she was in the
midst of a world apart, which seemed to her the whole of the world.
Everybody whom she met there was concentrated on the opera. She talked
to orchestral players about the musical effects; to the conductor about
detail, color, ensemble; to scene-painters about the various "sets,"
their arrangement, lighting, the gauzes used in them, the properties,
the back cloths; to machinists about the locusts and other sensations;
to the singers about their roles; to dancers about their strange Eastern
poses; to Fakirs about their serpents and their miracles. She lived in
the opera, as the opera lived in the vast theater. She was, as it were,
enclosed in a shell within a shell. New York was the great sea murmuring
outside. And always it was murmuring of the opera. In consequence of
Jacob Crayford's great opinion of Charmian she was the spoilt child in
his theater. Her situation there was delightful. Everybody took his cue
from Crayford. And Crayford's verdict on Charmian was, "She's a
wonderful little lady. I know her, and I say she's a peach. Heath did
the cleverest thing he ever did in his life when he married her."
Charmian really had influence with Crayford, and she used it, revelling
in a sense of her power and importance. He consulted her about many
points in the performance. And she spoke her mind with decision, growing
day by day in self-reliance. In the theater she was generally
surrounded, and she grew to love it as she had never loved any place
before. The romance and beauty of Djenan-el-Maqui were as nothing in
comparison with the fascination of the Monster with the Maw, vast, dark,
and patient, waiting for its evening provender. To Charmian it seemed
like a great personality. Often she found herself thinking of it as
sentient, brooding over the opera, secretly attentive to all that was
going on in connection with it. She loved its darkness, the ghostly
lightness of the covers spread over it, the ranges of its gaping boxes,
the far-off mystery of its galleries receding into a heaven of ebon
blackness. She wandered about it, sitting first here, then there,
becoming intimate with the monster on whom she sometimes felt as if her
life and fortunes depended.
"All this we are doing for you!" something within her seemed to whisper.
"Will you be satisfied with our efforts? Will you reward us?"
And then, in imagination, she saw the monster changed. No longer it
brooded, watched, considered, waited. It had sprung into ardent life,
put off its darkness, wrapped itself in a garment of light.
"You have given me what I needed!" she heard it saying. "Look!"
And she saw the crowd!
Then sometimes she shut her eyes. She wanted to feel the crowd, those
masses of souls in masses of bodies for which she had done so much.
Always surely they had been keeping the ring for Claude and for her. And
it seemed to her that, unseen, they had circled the Isle in the far-off
Algerian garden where she first spoke of her love and desire for Claude,
that they had ever since been attending upon her life. Had they not
muttered about the white house that held the worker? Had they not stared
at the one who sat waiting by the fountain? Had they not seen the
arrival of Jacob Crayford? Had they not assisted at those long
colloquies when the opera which was for them was changed? Absurdly, she
felt as if they had. And now, very soon, it would be for them to speak.
And striving to shut her eyes more firmly, or pressing her fingers upon
them, Charmian saw moving hands, a forest of them below, circles above
circles of them, and in the distance of the gods a mist of them. And she
saw the shining of thousands of eyes, in which were mirrored strangely,
almost mystically, souls that Claude's music, conceived in patience and
labor, had moved and that wished to tell him so.
She saw the crowd! And she saw it returning to listen again. And she
remembered, with the extraordinary vitality of an ardent woman, who was
still little more than a girl, how she had sat opposite to the
white-faced, red-haired heroine on the first night of Jacques Sennier's
_Paradis Terrestre_; how she had watched her, imaginatively entered into
her mind, become one with her. That night Claude had written his letter
to her, Charmian. The force in her, had entered into him, had inspired
him to do what he did that night, had inspired him to do what he had
since done always near to her. And soon, very soon, the white-faced,
red-haired woman would be watching her.
Then something that was almost like an intoxication of the senses,
something that, though it was born in the mind, seemed intimately
physical, came upon, rushed over Charmian. It was the intoxication of an
acute ambition which believed itself close to fulfilment. Life seemed
very wonderful to her. Scarcely could she imagine anything more
wonderful than life holding the gift she asked for, the gift something
in her demanded. And she connected love with ambition, even with
notoriety. She conceived of a satisfied ambition drawing two human
beings together, cementing their hearts together, merging their souls in
one.
"How I shall love Claude triumphant!" she thought exultantly, even
passionately, as if she were thinking of a man new made, more lovable by
a big measure than he had been before. And she saw love triumphant with
wings of flame mounting into the regions of desire, drawing her soul up.
"Claude's triumph will develop me," she thought. "Through it I shall
become the utmost of which I am capable. I am one of those women who can
only thrive in the atmosphere of glory."
Claude triumphant, and made triumphant by her! She cherished that
imagination. She became possessed by it.
Everything conspired to keep that imagination alive and powerful within
her. Crayford was an enthusiast for the opera, and infected all those
who belonged to him, who were connected with his magnificent theater,
with his own enthusiasm. The scene-painter, who had, almost with genius,
prepared exquisite Eastern pictures, was an enthusiast foreseeing that
he would gain in the opera the triumph of his career. The machinist was
"fairly wild" about the opera. Had he not invented the marvellous locust
effect, which was to be a new sensation? Mr. Mulworth, by dint of
working with fury and sitting up all night, had become fanatical about
the opera. He existed only for it. No thought of any other thing could
find a resting-place in his mind. His "production" was going to be a
masterpiece such as had never before been known in the history of the
stage. Nothing had been forgotten. He had brought the East to New York.
It was inconceivable by him that New York could reject it. He spoke
about the music, but he meant his "production." The man was a marvel in
his own line, and such a worker as can rarely be found anywhere. He
believed the opera was going to mark an epoch in the history of the
lyric stage. And he said so, almost wildly, in late hours of the night
to Charmian.
Then there was Alston, who was to have his first great chance in the
opera, and who grew more fervently believing with each rehearsal.
The great theater was pervaded by optimism, which flowed from the
fountain-head of its owner. And this optimism percolated through certain
sections of society in New York, as had been the case in London before
Sennier's _Paradis Terrestre_ was given for the first time.
Report of the opera was very good. And with each passing day it became
better.
Charmian remembered what had happened in London, and thought exultantly,
"Success is in the air."
It certainly seemed to be so. Rumor was busy and spoke kind things.
Charmian noticed that the manner of many people toward her and Claude
was becoming increasingly cordial. The pressmen whom she met gave her
unmistakable indications that they expected great things of her husband.
Two of them, musical critics both, came to dine with her and Claude one
night at the St. Regis, and talked music for hours. One of them had
lived in Paris, and was steeped in modernity. He was evidently much
interested in Claude's personality, and after dinner, when they had all
returned from the restaurant to the Heaths' sitting-room, he said to
Charmian:
"Your husband is the most interesting English personality I have met. He
is the only Englishman who has ever given to me the feeling of
strangeness, of the beyond."
He glanced around with his large Southern eyes and saw that there was a
piano in the room.
"Would he play to us, do you think?" he said, rather tentatively. "I am
not asking as a pressman but as a keen musician."
"Claude!" Charmian said. "Mr. Van Brinen asks if you will play us a
little bit of the opera."
Claude got up.
"Why not?" he said.
He spoke firmly. His manner was self-reliant, almost determined. He went
to the piano, sat down, and played the scene Gillier had liked so much,
the scene in which some of Said Hitani's curious songs were reproduced.
The two journalists were evidently delighted.
"That's new!" said Van Brinen. "Nothing like that has ever been heard
here before. It brings a breath of the East to Broadway."
Claude had turned half round on the piano stool. His eyes were fixed
upon Van Brinen. And now Van Brinen looked at him. There was an instant
of silence. Then Claude swung round again to the piano and began to play
something that was not out of the opera. Charmian had never heard it
before. But Mrs. Mansfield had heard it.
"'I heard a great voice out of the temple saying to the seven
angels, "Go your ways, and pour out the vials of the wrath of God
upon the earth...."
"'The second angel poured out his vial upon the sea; and it became
as the blood of a dead man....
"'The fourth angel poured out his vial upon the sun; and power was
given to him to scorch men with fire....
"'The sixth angel poured out his vial upon the great river
Euphrates; and the water thereof was dried up, that the way of the
Kings of the East might be prepared....
"'Behold I come as a thief. Blessed is he that watcheth, and
keepeth his garments, lest he walk naked, and they see his shame.'"
When Claude ceased there was a silence that seemed long. He remained
sitting with his back to his wife and his guests, his face to the piano.
At last he got up and turned, and his eyes again sought the face of Van
Brinen. Then Van Brinen moved, clasped his long and thin hands tightly
together, and said:
"That's great! That's very great!"
He paused, gazing at Claude.
"That's enormous!" he said. "Do you mean--is that from the opera?"
"Oh, no!" said Claude.
He came to sit down, and began to talk quickly of all sorts of things.
When the two pressmen were about to go away Van Brinen said:
"I wish you success, Mr. Heath, as I have very seldom wished it for any
man. For since I have heard some of your music, I feel that you deserve
it as very few musicians I know anything of do."
Claude's face flushed painfully, became scarlet.
"Thank you very much," he almost muttered. But he wrung Van Brinen's
thin hand hard, and when he was alone with Charmian he said:
"Of all the men I have met in New York that is the one I like best."
Van Brinen had considerable influence in the musical world of New York,
and after that evening he used it on Claude's behalf. The members of the
art circles of the city had Claude's name perpetually upon their lips.
Articles began to appear which voiced the great expectation musicians
were beginning to found upon Claude's work. The "boom" grew, and was no
longer merely sensational, a noisy thing worked up by paid agents.
Charmian became quickly aware of this and exulted. Now and then she
remembered her conversation with Susan Fleet and had a moment of doubt,
of wonder. Now and then a fleeting expression in the pale face of her
husband, a look in his eyes, a sound in his voice, even a movement, sent
a slight chill through her heart. But these faintly disagreeable
sensations passed swiftly from her. The whirling round of life took her,
swept her on. She had scarcely time to think, though she had always time
to feel intensely.
Often during these days of fierce preparation she was separated from
Claude. He had innumerable things to do connected with the production.
Charmian haunted the opera house, but was seldom actually with Claude
there, though she often saw him on the stage or in the orchestra, heard
him discussing points concerning his work. And Claude was very often
away, when rehearsals did not demand his attention, visiting the singers
who were to appear in the opera, going through their roles with them,
trying to imbue them with his exact meaning. Charmian meanwhile was with
some of the many friends she had made in New York.
Thus it happened that Claude was able to meet Mrs. Shiffney several
times without Charmian's knowledge.
It was an understood thing--and Charmian knew this--that Mrs. Shiffney
was to come to the first full rehearsal of the opera. The verdict in
advance was to be given and taken. Mrs. Shiffney had called once at the
St. Regis, when Claude was out, and had sat for ten minutes with
Charmian. And Charmian had called upon her at the Ritz-Carlton and had
not found her. Here matters had ended in connection with "Adelaide," so
far as Charmian knew. Mrs. Shiffney had multitudes of friends in New
York, and was always rushing about. It never occurred to Charmian that
she had any time to give to Claude, or that Claude had any time to give
to her. But Mrs. Shiffney always found time to do anything she really
cared to do. And just now she cared to meet Claude.
Long ago in London, when he was very genuine, she had been attracted by
him. Now, in New York, when he was dressed up in motley, with painted
face and eyes that strove, though sometimes in vain, to be false, he
fascinated her. The new Claude, harder, more dominant, secretly unhappy,
feverish with a burning excitement of soul and brain, appealed to this
woman who loved all that was strange, exotic, who hated and despised the
commonplace, and who lived on excitement.
She threw out one or two lures for Claude, and he, who in London had
refused her invitations, in New York accepted them. Why did he do this?
Because he had flung away his real self, because he was secretly angry
with, hated the self to which he was giving the rein, because he, too,
during this period was living on excitement, because he longed
sometimes, with a cruel longing, to raise up a barrier between himself
and Charmian.
And perhaps there were other reasons that only a physician could have
explained, reasons connected with tired and irritated nerves, with a
brain upon which an unnatural strain had been put. The overworked man of
talent sometimes is confronted with strange figures making strange
demands upon him. Claude knew these figures now.
He had always been aware of fascination in Mrs. Shiffney. Now he let
himself go toward this fascination. He had always, too, felt what he had
called the minotaur-thing in her, the creature with teeth and claws
fastening upon pleasure. Now he was ready to be with the minotaur-thing.
For something within him, that was intimately connected with whatever he
had of genius, murmured incessantly, "To-morrow I die!" And he wanted,
at any cost, to dull the sound of that voice. Why should not he let his
monster fasten on pleasure too? The situation was full of a piquancy
which delighted Mrs. Shiffney. She was "on the other side," and was now
preparing to make love in the enemy's camp. Nothing pleased her more
than to mingle art with love, linking the intelligence of her brain with
the emotion, such as it was, of her thoroughly pagan heart. And the
feeling that she was a sort of traitress to her beloved Jacques and
Henriette was quite enchanting. One thing more gave a very feminine zest
to her pursuit--the thought of Charmian, who knew nothing about it, but
who, no doubt, would know some day. She rejoiced in intrigue, loved a
secret that would eventually be hinted at, if not actually told, and
revelled in proving her power on a man who, in his unknown days, had
resisted it, and who now that he was on the eve, perhaps, of a wide
fame, seemed ready to succumb to it. There were even moments when she
found herself wishing for the success of Claude's opera, despite her
active dislike of Charmian. It would really be such fun to take Claude
away from that silly Charmian creature in the very hour of a triumph.
Yet she did not wish to see Charmian even the neglected wife of a great
celebrity. Her feelings were rather complex. But she had always been at
home with complexity.
She managed to get rid of Susan Fleet, by persuading her to visit some
friends of Susan who lived in Washington. Then it was easy enough to see
Claude quietly, in her apartment at the Ritz-Carlton Hotel and
elsewhere. Mrs. Shiffney was a past mistress of what she called "playing
about." Claude recognized this, and had a glimpse into a life strangely
different from his own, an almost intimate glimpse which both interested
and disgusted him.
In his determination to grasp at the blatant thing, the big success, a
determination that pushed him almost inevitably into a certain
extravagance of conduct, because it was foreign to his innermost nature,
Claude gave himself to the vulgar vanity of the male. He was out here to
conquer. Why not conquer Mrs. Shiffney? To do that would be scarcely
more spurious than to win with a "made over" opera.
He kept secret assignations, which were not openly supposed to be secret
by either Mrs. Shiffney or himself. For Mrs. Shiffney was leading him
gently, savoring nuances, while he was feeling blatant, though saved by
his breeding from showing it. They had some charming, some almost
exciting talks, full of innuendo, of veiled allusions to personal
feeling and the human depths. And all this was mingled with art and the
great life of human ambition. Mrs. Shiffney's attraction to artists was
a genuine thing in her. She really felt the pull of that which was
secretly powerful in Claude. And she, not too consciously, made him know
this. The knowledge drew him toward her.
One day Claude went to see her after a long rehearsal. When he reached
the hotel it was nearly eight o'clock. The rehearsal of his opera had
only been stopped because it had been necessary to get ready for the
evening performance. Claude had promised to dine with Van Brinen that
night, and Charmian was dining with some friends. But, at the last
moment, Van Brinen had telephoned to say that he was obliged to go to a
concert on behalf of his paper. Claude had left the opera house, weary,
excited, doubtful what to do. If he returned to the St. Regis he would
be all alone. At that moment he dreaded solitude. After hesitating for a
moment outside the stage door, he called a taxi-cab, and ordered the man
to drive to the Ritz-Carlton Hotel.
Mrs. Shiffney would probably be out, would almost certainly have some
engagement for the evening. The hour was unorthodox for a visit. Claude
did not care. He had been drowned in his own music for hours. He was in
a strongly emotional condition, and wanted to do something strange,
something bizarre.
He sent up his name to Mrs. Shiffney, who was at home. In a few moments
she sent down to say she would see him in her sitting-room. When Claude
came into it he found her there in an evening gown.
"Do forgive me! You're going out?" he said.
"Where are you dining?" she answered.
Claude made a vague gesture.
"Have you come to dine with me?" she said, smiling.
"But I see you are going out!"
She shook her powerful head.
"We will dine up here. But I must telephone to a number in Fifth
Avenue."
She went toward the telephone.
"Oh, but I can't keep you at home. It is too outrageous!" he said.
"Give me time to telephone!" she answered, looking round at him over her
shoulder.
"You are much too kind!" he said. "I--I looked in to settle about your
coming to that rehearsal."
She got on to the number in Fifth Avenue and spoke through the telephone
softly.
"There! That's done! And now help me to order a dinner for--" she
glanced at him shrewdly--"a tired genius."
Claude smiled. They consulted together, amicably arranging the menu.
The dinner was brought quickly, and they sat down, one on each side of a
round table decorated with lilies of the valley.
"I'm playing traitress to-night," Mrs. Shiffney said in her deep voice.
"I was to have been at a dinner arranged for the Senniers by Mrs.
Algernon Batsford."
"I am so ashamed."
"Or are you a little bit flattered?"
"Both, perhaps."
"A divinely complex condition. Tell me about the rehearsal."
They plunged into a discussion on music. Mrs. Shiffney was a past
mistress in the art of subtle flattery, when she chose to be. And she
always chose to be, in the service of her caprices. She understood well
the vanity of the artistic temperament. She even understood its reverse
side, which was strongly developed in Claude. Her efforts were dedicated
to the dual temperament, and beautifully. The discussion was long and
animated, lasting all through dinner to the time of Turkish coffee.
Claude forgot his fatigue, and Mrs. Shiffney almost forgot her caprice.
She became genuinely interested in the discussion merely as a
discussion. Her sincere passion for art got the upper hand in her. And
this made her the more delightful. The evening fled and its feet were
winged.
"I was going to a party at Eve Inness's," she said, when half-past ten
chimed in the clock on her writing-table. "But I'll give it up."
Claude sprang to his feet.
"Really you must not. I must go. I must really. I know I need any amount
of sleep to make up arrears."
"You don't look sleepy."
"How could I, in New York?"
"We don't need to sleep here. Sit down again. Eve Inness is quite
definitely given up."
"But--"
Mrs. Shiffney looked at him, and he sat down. At that moment he
remembered the morning in the pine wood at Constantine, and how she had
looked at him then. He remembered, too, and clearly, his own recoil. Now
he believed that she had been very treacherous in regard to him. Yet he
felt happier with her, and even at this moment as he returned her look
he thought, "Whatever she may have felt at Constantine, I believe I have
won her over to my side now. I have power. She always felt it. She feels
it now more than ever." And abruptly he said:
"You are on Sennier's side. And really it is a sort of battle here. The
two managements have turned it into a battle. We've been talking all
this evening of music. Do you really wish me to succeed? I think--" he
paused. He was on the edge of accusing her of treachery at Constantine.
But he decided not to do so, and continued, "What I mean is, do you
genuinely care whether I succeed or not?"
After a minute Mrs. Shiffney said:
"Perhaps I care even more than Charmian does."
Her large and intelligent eyes were still fixed upon Claude. She looked
absolutely self-possessed, yet as if she were feeling something
strongly, and meant him to be aware of that. And she believed that just
then it depended upon Claude whether she cared for his success or
desired his failure. His long resistance to her influence, followed by
this partial yielding to it, had begun to irritate her capricious nature
intensely. And this irritation, if prolonged, might give birth in her
either to a really violent passion, of the burning straw species, for
Claude, or to an active hatred of him. At this moment she knew this.
"Perhaps I care too much!" she said.
And instantly, as at Constantine, when the reality of her nature
deliberately made itself apparent, with intention calling to him, Claude
felt the invincible recoil within him, the backward movement of his true
self. The spurious vanity of the male died within him. The feverish
pleasure in proving his power died. And all that was left for the moment
was the dominant sense of honor, of what he owed to Charmian. Mrs.
Shiffney would have called this "the shriek of the Puritan." It was
certainly the cry of the real man in Claude. And he had to heed it. But
he loathed himself at this moment. And he felt that he had given Mrs.
Shiffney the right to hate him for ever.
"My weakness is my curse!" he thought. "It makes me utterly
contemptible. I must slay it!"
Desperation seized him. Abruptly he got up.
"You are much too kind!" he said, scarcely knowing what he was saying.
"I can never be grateful enough to you. If I--if I do succeed, I shall
know at any rate that one--" He met her eyes and stopped.
"Good-night!" she said. "I'm afraid I must send you away now, for I
believe I will run in for a minute to Eve Inness, after all."
As Claude descended to the hall he knew that he had left an enemy behind
him.
But the knowledge which really troubled him was that he deserved to have
Mrs. Shiffney for an enemy.
His own self, his own manhood, whipped him.